Eddie Martinez

Used for the guitar on Robert Palmer's Riptide, as stated in this excerpt of an interview from Vol. 38, No. 2 of Guitar Player (February 2004).

"For the rhythm tracks, I played a Hamer Prototype," remembers Martinez. "I used that same guitar on all the Run-DMC and David Lee Roth stuff. It had a triple-coil pickup, so I could get humbucker or single- coil sounds out of it. I plugged it into a non-master-volume Marshall from the late '70s, and a 4x12 cabinet loaded with 25-watt Celestion Greenbacks. I ran the volume at around eight or nine, because if you cranked that amp you'd lose a little definition, I didn't max out the bass--I let file mids handle the low end of the sound--and I ran the treble at just over halfway."

Engineer Jason Corsaro close-miked the 4x12 with a Shure SM57 and an Sennheiser MD 421, and used a Neumann U87 to capture the room sound.

Used for the guitar on Robert Palmer's Riptide, as stated in this excerpt of an interview from Vol. 38, No. 2 of Guitar Player (February 2004).

"For the rhythm tracks, I played a Hamer Prototype," remembers Martinez. "I used that same guitar on all the Run-DMC and David Lee Roth stuff. It had a triple-coil pickup, so I could get humbucker or single- coil sounds out of it. I plugged it into a non-master-volume Marshall from the late '70s, and a 4x12 cabinet loaded with 25-watt Celestion Greenbacks. I ran the volume at around eight or nine, because if you cranked that amp you'd lose a little definition, I didn't max out the bass--I let file mids handle the low end of the sound--and I ran the treble at just over halfway."

Engineer Jason Corsaro close-miked the 4x12 with a Shure SM57 and an Sennheiser MD 421, and used a Neumann U87 to capture the room sound.

Used for the guitar on Robert Palmer's Riptide, as stated in this excerpt of an interview from Vol. 38, No. 2 of Guitar Player (February 2004).

"For the rhythm tracks, I played a Hamer Prototype," remembers Martinez. "I used that same guitar on all the Run-DMC and David Lee Roth stuff. It had a triple-coil pickup, so I could get humbucker or single- coil sounds out of it. I plugged it into a non-master-volume Marshall from the late '70s, and a 4x12 cabinet loaded with 25-watt Celestion Greenbacks. I ran the volume at around eight or nine, because if you cranked that amp you'd lose a little definition, I didn't max out the bass--I let file mids handle the low end of the sound--and I ran the treble at just over halfway."

Engineer Jason Corsaro close-miked the 4x12 with a Shure SM57 and an Sennheiser MD 421, and used a Neumann U87 to capture the room sound.